The story started in 2003 when I was at art school.
The work that I was nominated for
is called 'Postscript II (Berlin)'.
This particular work was about a journey in Berlin
which somehow would relate to some personal trajectories, some fictive perhaps.
I never really knew the difference in the end.
Berlin was this, kind of, strange enigmatic place.
When I was born, the Russians were invading
and we were all living in the basement of the house.
The work is also a contemplation, a reflection on another work that I’ve been performing
or trying to work with since 2003.
So basically I’ve been performing this piece called 'Hahn/Huhn' for ten years.
There was a certain point after ten years of performing the same piece
I lost that sense of enquiry.
The 'Postscript' was really an attempt to think about how long can you re-perform this piece for
and I think it has come to the point where the only way
I could answer that or question that, properly was through speech again in a totally different register.
The picture of the smoke rising
it just reminds me of a certain moment of confrontation.
I’m lost.
All these images now are only for me full stops.
It was much more like a conversational piece.
It was in one take. There was no script.
There was not much editing afterwards either.
It was more or less a piece without an audience, without that live aspect.
I felt very much that I needed to disembody myself in terms of that sense of the voice
and the body being there live performing
and by making this work 'Postscript'
it was also a sense of saying the voice belongs but the body has gone
I can’t perform in that way live to an audience to hold all the elements together.
I think presence is something that I’m only coming to terms with now
now that I’m performing a lot less
and there are elements, components, that I have, that come together during the install phase
so that sense of presence, of performative presence before a show opens
is important for me in order to, kind of, maintain a logic, an inner logic to bring it all together.
There is, like, a source or a bank of images that I always work around or work with
but usually I’m recycling lots of old images from the past.
Often I’m taking images that are 10-15 years pre dating the work’s existence
or trying of, like, discovering them.
I think it’s also about discovering the images that I have in my archive.
Working with this fragile technology, that freedom of continuously shifting and changing the work
it’s a massive advantage
and it’s also how I work with speech and performing.
There is this, kind of, sense of immediacy and improvisation
that I’ve become so accustomed to now
and used to that method of working.
it's important that I don't really, that it's not too controlling, that the images
they come and go along the way.
Every time it’s shown new slides come and go
it changes all the time.